Saloon, royal, in the Vatican, ii. 127.
Others at Rome, i. 277, ii. 128, 203, 204.
Of the Pitti, at Florence, i. 300.
Of the Palazzo Vecchio, i. 192, 248.
Of the ducal palace at Venice, iii. 192, 225, &c.
In Genoa, v. 243.
Scagliola, works in, i. 346, iv. 70.
Sea views, painters of, i. 326, ii. 248, 332, 444, iii. 385, v. 204.
Slowness of artists, remarked in Ricciarelli, ii. 127.
Punished in Laureti, ii. 151.
Proverbial with some, i. 161, 416, v. 97.
Injurious, 267, 268, 343.
Corrected in Agostino Caracci, v. 97.
_See also_ Diligence.
Selection of style to be made according to the genius and disposition of
the artist, i. 248, 307, 416.
Surnames of painters,
confounded and altered, _see_ Lamberto, Da Leccio, Sanmartino, &c.
Derived by masters from their native place, and sometimes from that of
their residence. _See_ Orsi, Lotto, &c.
Murati, ii. 41, iii. 120.
Statues, of Bonarruoti, i. 165, 166.
Of Verrocchio, i. 151.
Where it may be observed, that the Horse of Venice, which was cast by
him, and did not succeed, was newly cast by Alessandro Leopardo, a
Venetian. _Temanza._
Modelled by Vinci, _ib._;
by Raffaello, ii. 82.
Symbolical representations of living personages, borrowed from the
history of illustrious ancients, i. 257, ii. 68.